NEW PRODUCTS
Jul 1, 2003 12:00 PM, By Markkus Rovito
ALLEN & HEATH PA20
LIVE-SOUND CONSOLE
Mixology is important in clubs, both behind the bar and behind the scenes. To keep the sound tight at big gigs, a console mixer such as the Allen & Heath PA20 (price TBA) is what you need. With 20 inputs on 16 mono and two stereo channels, the PA20 can handle demanding small-venue performances. Each mono channel includes both an XLR input with +48V phantom power and a ¼-inch TRS input, as well as a two-stage preamp that routes mic and line signals to different stages. All have channels have a 4-band EQ, and a second 4-band parametric EQ treats the main output. For further sweetening are four aux sends, two prefade and two postfade, of which one can send signals to the PA20's onboard editable effects. All channel strips have mute and PFL switches with LEDs. The PA20's 12-segment LED meters monitor signal output, and each fader measures 100 mm. In addition to the standard analog connections, the PA20 also has a digital S/PDIF output and a lamp socket.
Allen & Heath; e-mail
marketing@allen-heath.com; Web
www.allen-heath.com
BEHRINGER V-AMP PRO
AMP MODELER/EFFECTS PROCESSOR
There's no stopping German ingenuity: Behringer has revamped the V-Amp again, this time with the 2U rackmount V-Amp Pro ($269.99), a professional version of the V-Amp 2. All of the hallmarks of the V-Amp series are accounted for; 32 amp models to be used alone or in combination with 15 speaker-cabinet models and 16 effects, including dedicated reverb, delays, flangers, auto wah and rotary speaker. Several factors differentiate the V-Amp Pro from its little siblings. For example, its 24-bit, 96kHz output flows from either the AES/EBU or S/PDIF digital outputs. It also makes use of Behringer's new proprietary Ultra-G cabinet technology, which simulates the interaction between microphones and speaker cabinets in recording and live scenarios. Despite its professional bent, the V-Amp Pro is designed for intuitive operation with self-explanatory controls. LEDs on its rotary knobs always show the current parameter value. Besides the digital outputs, a host of connectivity decorates the V-Amp Pro. A headphone socket and a ¼-inch line input embellish the front panel. The unit also has balanced stereo XLR outputs with a ground lift, an unprocessed guitar output, a wordclock input for synchronization, MIDI ports, post-DSP stereo inserts and a pre-DSP send/return.
Behringer; e-mail
support@behringer.com; Web
www.v-amp.com
CARVIN CG 200
COMPRESSOR/GATE
For a versatile, low-cost outboard compressor/gate, check out the Carvin CG 200 ($189.99). Inside the 1U rackmount chassis, the CG 200 houses opto-isolator components — rather than the VCAs of many other compressors — to reduce distortion. With two channels of compression and gating, the CG 200 can operate in stereo or with two independent mono channels. For each channel, there are separate threshold, ratio, attack, release and output controls for compression, as well as threshold, ratio and release controls for the gate. Per-channel bypass allows quick A/B comparing. The unit's metering also switches to monitor the input or the output. The CG 200 is suitable in many situations because it has both balanced and unbalanced connections, including balanced XLR and ¼-inch jacks. It also has an internal switching power supply so that it can be used internationally, and it doesn't use a bothersome wall-wart adapter.
Carvin; Web
www.carvin.com
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